"It's dark every night..."
It's not exactly profound is it? I mean - no shit, Sherlock! But, I never heard anyone else say it, much less sing it, so....I pretty much wrote a song around it.
I'm going to try to keep this brief.
This is basically a dramatic love song about, as I sing, "Tempting fate with a good time," & then shit gets out of hand with the person you're having the good time with.
Shit happens.
You got into an argument - Lord knows (or, at this point, cares) why. You wake up the next day hung over, alone, and feeling like the horse's ass you rode in on. And, of course, you're looking for the very person you were in a bitch match with some hours before to make you feel safe and secure, because she (or he) is, "the only thing that makes it alright."
That's rich, isn't it?
I intertwined some lyrics about my semi-religious upbringing in there ("Orphan bastard child of God, Born of a rumor and a fraud"). I think I did that to sort of deepen the song with references to being indoctrinated with some idea of "God" & morality, & coming to the realization that these things don't necessarily make anyone righteous. In fact, they can have the opposite effect, really. I think that's why I tied up that first verse with my favorite line in the song: "The one who doesn't judge deserves all the love." Tell THAT to a religious nut!
What does that have to do with the song? Well, it beats the hell out of me, but...maybe, since it's a love song, I sort-of threw the love of family into the mix, which sort of intertwines with the religious themes, just like the love of that special one who "makes it alright" gets intertwined with too much booze! My life-long morbid fear of & fascination with death probably makes a cameo appearance as well. (I'm not gonna talk about that - but those of you who know me know all too well what I mean).
We all come from somewhere, and that leads us to where we are....
Anyway, enough of that shit.
I have a couple of random notes about the second verse that are kind-of funny. First, I sing "Gone, but not forgiven", because I saw that on a list of strange gravestone epitaphs in an almanac when I was a little kid, and it popped into my head when Lase and I were writing the song. Which leads me to the second line, "Alternative to living", which I think I once saw in a magazine ad for time shares or some shit - "THE PERFECT ALTERNATIVE TO LIVING!" I thought that was hilarious. (It's too bad that I can't find it).
As for writing the song, like most of them, it came quickly. I had that little lyric idea, and the beat with the sort-of "half-note-triplet" feel, & Lase & I took it from there. Lase really brought it to another level, yet again, when he pulled that bridge part out of his ass. I love that part.
Recording the vocals for this song (much like "Sister Vicodin") was kind of a BITCH. It's such a personal song, and one that requires a plaintive vocal, which can't be forced, or it's going to sound hokey as fuck. So, I did my best (which, admittedly, was a long shot at best) to evoke some of my favorite singers, like Mark Lanegan, & Lou Reed, & Nick Cave, to get the job done. while still keeping it my own enough to not sound like some cheap imitator. I think it came out the way I envisioned it. Lase's guitar textures are fantastic (which is the reason why I wanted to record it in the first place), and Mike Maenza, once again, really stepped up with fantastic drumming on here - taking a little idea of mine, and making it explosive. I applaud them.
That's enough.
One more song to go, next week.
Thanks for reading; thanks for listening.
Marty E.
"We're all messed up but nowhere to go..."
LAST WEEK's ENTRY: SONGS: #6 - Midnight Crisis - "Lost & Found"
THE WEEK BEFORE THAT: SONGS: #5 - Midnight Crisis - "Sister Vicodin"
THE WEEK BEFORE THAT: SONGS: #4 - Midnight Crisis - "(Get Home) Dangerous"
THE WEEK BEFORE THAT: SONGS: #3 - Midnight Crisis - "Kiss My Apocalipps"
THE WEEK BEFORE THAT: SONGS: #2 - Midnight Crisis - "Midnight Somewhere"
THE WEEK BEFORE THAT: SONGS: #1 - Midnight Crisis - "Take Control"
Stream/Download "Make It Alright" on BandCamp
Download "Make It Alright" on CDBaby (or buy Heart Beatings CD)
Download "Make It Alright" on Apple iTunes
Download "Make It Alright" on Amazon
"Make It Alright" on Spotify
Sunday, December 10, 2017
Sunday, December 3, 2017
SONGS: #6 - Midnight Crisis - "Lost & Found"
This is another song (like "(Get Home) Dangerous") in which the lion's share of the lyrics in the first two verses were written a long time ago - in this case, probably 15 years back! The strange but cool thing about that is that they're still extremely relevant to me, after that long - in spite of (and maybe because of) the fact that the meaning of them has changed, or at least the implications of them have become more substantial. Time can do that kind of thing.
I wrote a lot of the first two verses not too long after 9/11, when we were dealing with the aftermath & getting our "sea legs" back in the city. That's where the the term "New York Post [or post] apocalypse" comes from. For one thing, it really DID feel like the end of the world (and surely life hasn't been the same since)...and also, it was the dawn of the celebutard-focused reality tv "tabloid culture" that infiltrated the popular consciousness around that time & that we're still quite in the midst of today. So, there's a double entendre there, if you like.
Anyway, those initial lyrics floated around in my head for a long time, until I eventually started writing my own shit in order to see what might happen. Again, I figured, if something is STILL on my mind that I wrote in 2001, or whenever, then, maybe I have something at least marginally worthwhile, here.
With that said, what do they MEAN, now? Well...a lot of the New York City that I fell in love with is gone now. I'm not going to turn this into a soapbox sermon about hyper-gentrification, but, let's face it, it's affected a lot of us. It's turned Downtown, NYC, which was once a place full of beautiful, creative, & poor people, into a stomping ground for ugly, rich half-wits. With that said, I still love it here, and when I take a look around, despite what has been lost, I still see a lot of cool people and cool shit happening here. It's all just fewer and further between.
So, I guess when I consider everything, I'd say that the song is about keeping your head straight, your spirit up, and your resilience intact in a world that seems to be perpetually crumbling into a pile of shit, and believing in yourself despite overwhelming evidence that doing so might define insanity.
You know...all of that shit!
So, with all of that in mind, I rewrote the lyric to inform the song of all the time between the initial lyric idea, and the time when I made something of it, as it were....
...and then I heard this riff, that must have been inspired by the likes of Girls Against Boys, the Wildhearts, and New Model Army (whose socially conscious, rebellious themes might have also provided counsel)...and pretty much wrote the skeleton of the song based on that. I had that "get on down-down-down-down-down" sort of hook on my mind for awhile, and found that it fit over that riff quite nicely.
Besides pulling the chorus part out of my ass, that's about it.
I made a little demo out of it, and was really on the fence about how I felt about it. I knew that it was coming from a sincere place with me, but...sincerity doesn't always translate. Did it sound hokey? Did it sound like the real deal? Did it ROCK, for Christ's sake?
Fast-forward to when Lase recorded the song for real, and added his explosive guitar magic on top of it, and....the answer, at least for my ears, was a resounding yes. One thing that particularly took me aback was how much Mike Maenza's drum-pummeling really whipped the song into submission. Not bad for something I came up with on the fly from an old-ass idea on a hung-over afternoon in my room, on an acoustic bass!
That's the if, and, & butt-end of it. Thanks for reading, thanks for listening....there are two songs left on the album. Stay tuned for entries on each.
Marty E.
"Flesh and blood, concrete & steel
To dust we all shall fall..."
LAST WEEK's ENTRY: SONGS: #5 - Midnight Crisis - "Sister Vicodin"
THE WEEK BEFORE THAT: SONGS: #4 - Midnight Crisis - "(Get Home) Dangerous"
THE WEEK BEFORE THAT: SONGS: #3 - Midnight Crisis - "Kiss My Apocalipps"
THE WEEK BEFORE THAT: SONGS: #2 - Midnight Crisis - "Midnight Somewhere"
THE WEEK BEFORE THAT: SONGS: #1 - Midnight Crisis - "Take Control"
Stream/Download "Lost & Found" on BandCamp
Download "Lost & Found" on CD Baby (or buy Heart Beatings CD)
Download "Lost & Found" on Apple iTunes
Download "Lost & Found" on Amazon
"Lost & Found" on Spotify
I wrote a lot of the first two verses not too long after 9/11, when we were dealing with the aftermath & getting our "sea legs" back in the city. That's where the the term "New York Post [or post] apocalypse" comes from. For one thing, it really DID feel like the end of the world (and surely life hasn't been the same since)...and also, it was the dawn of the celebutard-focused reality tv "tabloid culture" that infiltrated the popular consciousness around that time & that we're still quite in the midst of today. So, there's a double entendre there, if you like.
Anyway, those initial lyrics floated around in my head for a long time, until I eventually started writing my own shit in order to see what might happen. Again, I figured, if something is STILL on my mind that I wrote in 2001, or whenever, then, maybe I have something at least marginally worthwhile, here.
With that said, what do they MEAN, now? Well...a lot of the New York City that I fell in love with is gone now. I'm not going to turn this into a soapbox sermon about hyper-gentrification, but, let's face it, it's affected a lot of us. It's turned Downtown, NYC, which was once a place full of beautiful, creative, & poor people, into a stomping ground for ugly, rich half-wits. With that said, I still love it here, and when I take a look around, despite what has been lost, I still see a lot of cool people and cool shit happening here. It's all just fewer and further between.
So, I guess when I consider everything, I'd say that the song is about keeping your head straight, your spirit up, and your resilience intact in a world that seems to be perpetually crumbling into a pile of shit, and believing in yourself despite overwhelming evidence that doing so might define insanity.
You know...all of that shit!
So, with all of that in mind, I rewrote the lyric to inform the song of all the time between the initial lyric idea, and the time when I made something of it, as it were....
...and then I heard this riff, that must have been inspired by the likes of Girls Against Boys, the Wildhearts, and New Model Army (whose socially conscious, rebellious themes might have also provided counsel)...and pretty much wrote the skeleton of the song based on that. I had that "get on down-down-down-down-down" sort of hook on my mind for awhile, and found that it fit over that riff quite nicely.
Besides pulling the chorus part out of my ass, that's about it.
I made a little demo out of it, and was really on the fence about how I felt about it. I knew that it was coming from a sincere place with me, but...sincerity doesn't always translate. Did it sound hokey? Did it sound like the real deal? Did it ROCK, for Christ's sake?
Fast-forward to when Lase recorded the song for real, and added his explosive guitar magic on top of it, and....the answer, at least for my ears, was a resounding yes. One thing that particularly took me aback was how much Mike Maenza's drum-pummeling really whipped the song into submission. Not bad for something I came up with on the fly from an old-ass idea on a hung-over afternoon in my room, on an acoustic bass!
That's the if, and, & butt-end of it. Thanks for reading, thanks for listening....there are two songs left on the album. Stay tuned for entries on each.
Marty E.
"Flesh and blood, concrete & steel
To dust we all shall fall..."
LAST WEEK's ENTRY: SONGS: #5 - Midnight Crisis - "Sister Vicodin"
THE WEEK BEFORE THAT: SONGS: #4 - Midnight Crisis - "(Get Home) Dangerous"
THE WEEK BEFORE THAT: SONGS: #3 - Midnight Crisis - "Kiss My Apocalipps"
THE WEEK BEFORE THAT: SONGS: #2 - Midnight Crisis - "Midnight Somewhere"
THE WEEK BEFORE THAT: SONGS: #1 - Midnight Crisis - "Take Control"
Stream/Download "Lost & Found" on BandCamp
Download "Lost & Found" on CD Baby (or buy Heart Beatings CD)
Download "Lost & Found" on Apple iTunes
Download "Lost & Found" on Amazon
"Lost & Found" on Spotify
Sunday, November 19, 2017
SONGS: #5 - Midnight Crisis - "Sister Vicodin"
To begin with, in the interest of full disclosure, yeah, I got the idea for this song from the Stones' "Sister Morphine"...and also, for that matter, from the Pillbox song, "Sister Caroline" (what does THAT rhyme with, again?). I simply thought that it might be a cool idea to write something that was making a similar statement, but put in a modern context.
With that said, this concept of juxtaposing (and personifying) the intoxication & escapism that comes from the likes of chemicals & love, in a song, is hardly new or uncommon. Hell, everyone from Roxy Music to Vain to...(I don't know).....the fucking Lemonheads...have all done that successfully.
So, I figured it was worth a try.
But, it wasn't REALLY that well thought out, at first, to be honest. The title "SISTER VICODIN" popped into my head one day when I was washing my hair or some shit. I liked it, but, what was I gonna do with it?
It didn't take long for me to formulate the chorus, in my head....."SIS-TER!! VIC-O-DIN!!!" In my imagination, I heard these chords behind it (which still sound a little bit to me like the KISS song, "Tears Are Falling", turned on its head). I kept turning it over & over in my head, and I've learned that if that happens, there's a distinct possibility that you might have something good.
[I became so distracted by it that, one day, when we were walking around Flushing in search of Soup Dumplings, my girlfriend basically asked me what the hell my problem was. So, I sang her the chorus idea right there on the street! That cleared it up...]
A couple of weeks later, I went to Lase's house to do some writing, armed with this, and another idea or two (we also wrote "(Get Home) Dangerous" that night). It took us a good hour of me singing this guitar idea for the chorus to Lase before we got on the same page with it, but it finally clicked. Lase then started playing this...for lack of better terms, "druggy", "airy" guitar part, that became the basis for the verses. In my typically subtle way, I said something like, "THAT's FUCKING GREAT!" Lase didn't think it worked, for some reason I don't remember. "HOGWASH!!" It was fucking PERFECT, as far as I was concerned! I grabbed a pen & paper & scrawled down the lyrics for the verses right there. "Magic in disguise," indeed!
We had the lion's share of it finished, or so we thought, when Lase plugged in his guitar, hit these fucking ARENA-sized chords, and started sort-humming this cool melody....and it made me say something like, "HOLY FUCK!" That became that bridge part, which is my favorite part of the song, and might be my favorite few seconds of the album, for some reason I can't explain. (I kind of ripped off Deep Purple a little bit when I came up with the "Another wasted sunset..." lyric, but...I didn't think that they would mind).
Speaking of lyrics, they're pretty self-explanatory in this song, but my favorite ones are in the second verse, where I'm describing withdrawal symptoms, etc: "Boiling fevers, ice-cold sweats, My sheets are soaking wet, Daydream nightmares, for Christ's sake, DYIN' AWAY THE NIGHT AWAKE!"
I digress...
I've learned a lot from this song. For one thing, it was a really profound example of turning some stupid idea that exists nowhere but between ones ears into something tangible. That alone blows my mind sometimes.
Another thing I learned the HARD way from this song is that, just because you write a song in a lower register, one that fits your range extremely well, and all of that shit....that doesn't necessarily mean that it's going to be easy to sing. This song (along with "Make It Alright" - more on that one in a couple of weeks) has the most subtleties & vulnerabilities that need to come out in the vocal...which, along with the actual singing itself, has to be exactly right, or it's not worth bothering with. As such, I think I sang this song at least 15 times at Lase's studio before we had enough for him to piece together a good vocal. I wouldn't have known it when we wrote the song originally, but this song was a BITCH for me to record vocals on....but we finally got it, and...well, at least for me, it was worth all of that hard work and frustration. That's the kind of shit that's going to make you that much better during your next go-around...or at least, I hope so!
Enough.
Thanks for reading, and thanks for listening. It means a lot to me.
Three more songs to go...
Marty E.
"My world is spinnin', I don't look back
Earthquakes....heart attacks"
LAST WEEK's ENTRY: SONGS: #4 - Midnight Crisis - "(Get Home) Dangerous"
THE WEEK BEFORE THAT: SONGS: #3 - Midnight Crisis - "Kiss My Apocalipps"
THE WEEK BEFORE THAT: SONGS: #2 - Midnight Crisis - "Midnight Somewhere"
THE WEEK BEFORE THAT: SONGS: #1 - Midnight Crisis - "Take Control"
Stream/Download "Sister Vicodin on BandCamp
Download "Sister Vicodin" on CD Baby (or buy Heart Beatings CD)
Download "Sister Vicodin" on Apple iTunes
Download "Sister Vicodin" on Amazon
"Sister Vicodin" on Spotify
With that said, this concept of juxtaposing (and personifying) the intoxication & escapism that comes from the likes of chemicals & love, in a song, is hardly new or uncommon. Hell, everyone from Roxy Music to Vain to...(I don't know).....the fucking Lemonheads...have all done that successfully.
So, I figured it was worth a try.
But, it wasn't REALLY that well thought out, at first, to be honest. The title "SISTER VICODIN" popped into my head one day when I was washing my hair or some shit. I liked it, but, what was I gonna do with it?
It didn't take long for me to formulate the chorus, in my head....."SIS-TER!! VIC-O-DIN!!!" In my imagination, I heard these chords behind it (which still sound a little bit to me like the KISS song, "Tears Are Falling", turned on its head). I kept turning it over & over in my head, and I've learned that if that happens, there's a distinct possibility that you might have something good.
[I became so distracted by it that, one day, when we were walking around Flushing in search of Soup Dumplings, my girlfriend basically asked me what the hell my problem was. So, I sang her the chorus idea right there on the street! That cleared it up...]
A couple of weeks later, I went to Lase's house to do some writing, armed with this, and another idea or two (we also wrote "(Get Home) Dangerous" that night). It took us a good hour of me singing this guitar idea for the chorus to Lase before we got on the same page with it, but it finally clicked. Lase then started playing this...for lack of better terms, "druggy", "airy" guitar part, that became the basis for the verses. In my typically subtle way, I said something like, "THAT's FUCKING GREAT!" Lase didn't think it worked, for some reason I don't remember. "HOGWASH!!" It was fucking PERFECT, as far as I was concerned! I grabbed a pen & paper & scrawled down the lyrics for the verses right there. "Magic in disguise," indeed!
We had the lion's share of it finished, or so we thought, when Lase plugged in his guitar, hit these fucking ARENA-sized chords, and started sort-humming this cool melody....and it made me say something like, "HOLY FUCK!" That became that bridge part, which is my favorite part of the song, and might be my favorite few seconds of the album, for some reason I can't explain. (I kind of ripped off Deep Purple a little bit when I came up with the "Another wasted sunset..." lyric, but...I didn't think that they would mind).
Speaking of lyrics, they're pretty self-explanatory in this song, but my favorite ones are in the second verse, where I'm describing withdrawal symptoms, etc: "Boiling fevers, ice-cold sweats, My sheets are soaking wet, Daydream nightmares, for Christ's sake, DYIN' AWAY THE NIGHT AWAKE!"
I digress...
I've learned a lot from this song. For one thing, it was a really profound example of turning some stupid idea that exists nowhere but between ones ears into something tangible. That alone blows my mind sometimes.
Another thing I learned the HARD way from this song is that, just because you write a song in a lower register, one that fits your range extremely well, and all of that shit....that doesn't necessarily mean that it's going to be easy to sing. This song (along with "Make It Alright" - more on that one in a couple of weeks) has the most subtleties & vulnerabilities that need to come out in the vocal...which, along with the actual singing itself, has to be exactly right, or it's not worth bothering with. As such, I think I sang this song at least 15 times at Lase's studio before we had enough for him to piece together a good vocal. I wouldn't have known it when we wrote the song originally, but this song was a BITCH for me to record vocals on....but we finally got it, and...well, at least for me, it was worth all of that hard work and frustration. That's the kind of shit that's going to make you that much better during your next go-around...or at least, I hope so!
Enough.
Thanks for reading, and thanks for listening. It means a lot to me.
Three more songs to go...
Marty E.
"My world is spinnin', I don't look back
Earthquakes....heart attacks"
LAST WEEK's ENTRY: SONGS: #4 - Midnight Crisis - "(Get Home) Dangerous"
THE WEEK BEFORE THAT: SONGS: #3 - Midnight Crisis - "Kiss My Apocalipps"
THE WEEK BEFORE THAT: SONGS: #2 - Midnight Crisis - "Midnight Somewhere"
THE WEEK BEFORE THAT: SONGS: #1 - Midnight Crisis - "Take Control"
Stream/Download "Sister Vicodin on BandCamp
Download "Sister Vicodin" on CD Baby (or buy Heart Beatings CD)
Download "Sister Vicodin" on Apple iTunes
Download "Sister Vicodin" on Amazon
"Sister Vicodin" on Spotify
Sunday, November 12, 2017
SONGS: #4 - Midnight Crisis - "(Get Home) Dangerous"
"Sunshine couldn't be so clever, the sidewalk sparkles in the midnight heat..."
I wrote the first two verses of this song about 15-fucking-years ago, when I was living in a bedbug-infested building made of Tinkertoys near the southern border of Hell's Kitchen. I'd been in New York City for a short time, and by all accounts, was struggling in virtually every way possible.
[I mean, when I went out, I'd often bring a little bottle of Jim Beam in my pocket to "modify & fortify" my Friday nights, out in the East Village/Lower East Side, or when I lacked that kind of fore-site, I'd stop by a deli between bar stops & grab a can of Bud to slam on the rockin' stroll onward.]
But, I didn't care! I was becoming what I always wanted to be, or so I thought. I had a band, & I was going out a lot, getting to know cool & beautiful people, playing shows at Don Hill's, The Continental, & CBGB's, and making my way, becoming part of the city I fell head-over-heels in love with. By day, I'd put my hair back into a pony-tail, caffeinate my hangovers away, and work as an "office temp" - which, essentially, allowed me to subsist & get reasonably "refreshed" while, in my mind, looking for my Street of Dreams and, ya know...all of that shit.
Also, I met a lot of "tragic types" along the way, who had their own stories to tell, and liked having someone to tell them to, even amidst the borderline squalor I was living in. That's what verse 2 is all about.
It really was a different world, then....anyway....
Anyway, all these years since I wrote the gist of the first two verses of this song, they always sort-of haunted me in my head, and I knew that I wanted to use them for something, but wasn't sure what, until Lase & I started writing. One night, it dawned on me (no pun intended) when, at bar time, someone typically said to me, "Get home safe!"
"Fuck THAT," I thought, "Get home DANGEROUS!"
I guess the point is, nothing cool or inspiring or interesting ever happened as a result of playing it safe, as far as I know. The frustration & struggling & adversity is worth it, because you do your own thing in your own time, whatever that means to you. I think and hope that I convey that effectively in the third verse and in the choruses.
I don't know what the fuck I have to show for this line of thinking, but...I have this song, in any case.
Lase and I wrote this song on a very productive night (we wrote "Sister Vicodin" that night too - more on that next week). I came in with most of the lyrics & a rhythmic idea that became part of the main riff (dadada....duh-daaaaaaaaah)....we had a drink & worked on it for about an hour, and....shit, we came up with those cool "question and answer" vocal lines in the choruses. We made a demo recording of it right away, a little bit of which remains on the final recording.
When we were recording the vocals, I took a couple of opportunities to do some Monster Magnet-style screams on here. That was a lot of fun.
Lase is particularly stoked on this track, and I believe it's his favorite track on the album. As for me, it's too difficult for me to pick & I don't feel like I've got to choose!
Until next week......Thanks for reading/listening!
- Marty E.
"You haven't done it all
But you've done your part...."
LAST WEEK's ENTRY: SONGS: #3 - Midnight Crisis - "Kiss My Apocalipps"
THE WEEK BEFORE THAT: SONGS: #2 - Midnight Crisis - "Midnight Somewhere"
THE WEEK BEFORE THAT: SONGS: #1 - Midnight Crisis - "Take Control"
Stream/Download "(Get Home) Dangerous" on BandCamp
Download "(Get Home) Dangerous" on CD Baby (or buy Heart Beatings CD)
Download "(Get Home) Dangerous" on Apple iTunes
Download "(Get Home) Dangerous" on Amazon
"(Get Home) Dangerous" on Spotify
I wrote the first two verses of this song about 15-fucking-years ago, when I was living in a bedbug-infested building made of Tinkertoys near the southern border of Hell's Kitchen. I'd been in New York City for a short time, and by all accounts, was struggling in virtually every way possible.
[I mean, when I went out, I'd often bring a little bottle of Jim Beam in my pocket to "modify & fortify" my Friday nights, out in the East Village/Lower East Side, or when I lacked that kind of fore-site, I'd stop by a deli between bar stops & grab a can of Bud to slam on the rockin' stroll onward.]
But, I didn't care! I was becoming what I always wanted to be, or so I thought. I had a band, & I was going out a lot, getting to know cool & beautiful people, playing shows at Don Hill's, The Continental, & CBGB's, and making my way, becoming part of the city I fell head-over-heels in love with. By day, I'd put my hair back into a pony-tail, caffeinate my hangovers away, and work as an "office temp" - which, essentially, allowed me to subsist & get reasonably "refreshed" while, in my mind, looking for my Street of Dreams and, ya know...all of that shit.
Also, I met a lot of "tragic types" along the way, who had their own stories to tell, and liked having someone to tell them to, even amidst the borderline squalor I was living in. That's what verse 2 is all about.
It really was a different world, then....anyway....
Anyway, all these years since I wrote the gist of the first two verses of this song, they always sort-of haunted me in my head, and I knew that I wanted to use them for something, but wasn't sure what, until Lase & I started writing. One night, it dawned on me (no pun intended) when, at bar time, someone typically said to me, "Get home safe!"
"Fuck THAT," I thought, "Get home DANGEROUS!"
I guess the point is, nothing cool or inspiring or interesting ever happened as a result of playing it safe, as far as I know. The frustration & struggling & adversity is worth it, because you do your own thing in your own time, whatever that means to you. I think and hope that I convey that effectively in the third verse and in the choruses.
I don't know what the fuck I have to show for this line of thinking, but...I have this song, in any case.
Lase and I wrote this song on a very productive night (we wrote "Sister Vicodin" that night too - more on that next week). I came in with most of the lyrics & a rhythmic idea that became part of the main riff (dadada....duh-daaaaaaaaah)....we had a drink & worked on it for about an hour, and....shit, we came up with those cool "question and answer" vocal lines in the choruses. We made a demo recording of it right away, a little bit of which remains on the final recording.
When we were recording the vocals, I took a couple of opportunities to do some Monster Magnet-style screams on here. That was a lot of fun.
Lase is particularly stoked on this track, and I believe it's his favorite track on the album. As for me, it's too difficult for me to pick & I don't feel like I've got to choose!
Until next week......Thanks for reading/listening!
- Marty E.
"You haven't done it all
But you've done your part...."
LAST WEEK's ENTRY: SONGS: #3 - Midnight Crisis - "Kiss My Apocalipps"
THE WEEK BEFORE THAT: SONGS: #2 - Midnight Crisis - "Midnight Somewhere"
THE WEEK BEFORE THAT: SONGS: #1 - Midnight Crisis - "Take Control"
Stream/Download "(Get Home) Dangerous" on BandCamp
Download "(Get Home) Dangerous" on CD Baby (or buy Heart Beatings CD)
Download "(Get Home) Dangerous" on Apple iTunes
Download "(Get Home) Dangerous" on Amazon
"(Get Home) Dangerous" on Spotify
Sunday, November 5, 2017
SONGS: #3 - Midnight Crisis - "Kiss My Apocalipps"
At our album release party, last month, I introduced this song by saying, "I had a dream I was David Johansen as an anchor man, reading the evening news...and that includes the sports and weather, motherfuckers!!!"
It's total bullshit, but it explains the song pretty well, if you ask me.
This is an example of a song, that, lyric-wise, was a complete stream-of-consciousness explosion, aided by sleep-deprivation, and media over-exposure. That's a mouthful, isn't it?
It was late Summer, 2016. Dim Donnie Trump had just clinched the Republican nomination for....(gulp)...the....presidency. I mean, it was unTHINKable! One couldn't take it seriously, almost. It just felt like a big fucking joke - one that stood out, significantly, in a world that's FULL of bad jokes.
It was one of those nights in which I stayed up all night at my girl's house, watching crappy shows on Netflix, and dicking around, playing Words With Friends, etc, until 6:30 in the morning, when one (usually) has no choice but to pass out.
That was when it hit me: "Armageddon won't be televised, Pull the silver screens over your eyes...." Again, this ultimate fruition of what they called "Trumpism"....it COULDN'T be real. It HAD to be a fucking JOKE. It will PASS, and SOON, right? He can't possibly, WIN, right? RIGHT?!!! Something in the back of my mind probably was probably a little nervous, even if I wouldn't admit it to myself or take it seriously. So I got back up, and wrote the ENTIRE lyric of this song, pretty much verbatim with how we recorded it. I then immediately texted it to Lase, who asked me why the fuck I was still up!
What's weird about it is, that third verse: "The nightmare, Baby, has come true, The shallow end is deeper than you..." Again, I was pretty-much kidding. I mean, I thought it was..."apocalyptic" enough, if you will, that this fucking moron got the NOMINATION. I'm not pretentious or full-of-shit enough to say that I was being prophetic or some shit - I had NO fucking idea what was going to happen. What I did think was that maybe this was, in some sick way, a way to a path forward - one that would possibly scare us into some good sense (and, hell, maybe it still is, but I have my doubts). That's what I think I meant by, "You can fucking keep yesterday..." The last I heard, looking back never got anyone anywhere. I have always felt that nostalgia, more often than not, holds us back from becoming what we should be...you know, that kind of shit. Before long, you start telling kids to get off your lawn! What I guess I'm getting at is, if we can survive and get through this dark fucking mess, maybe we can can come out of it better than we were somehow. That's probably a big "IF" I don't know what choice we have but to try.
[There's also an excellent chance that this is all a big CON JOB, but....that's another discussion.]
This shit sure took on new meaning for me after the election results came in, almost a year ago. But, if you're reading this, you already know all about that, so...we'll leave that there.
The point of this? Well...some people are calling it the end of the world. I am not - at least not yet. But if it is, there's really not a lot that any of us can do about it except educate ourselves and be the best that we can be, in spite of it. "If tomorrow never come, When the lights go out, we'll have our day in the sun." (That's probably a nod to PRINCE, too).
As far as the actually writing of the song itself, I just sang the lyrics over Lase's riffs that he came up with on the fly. What we came up with really plays to my (admittedly limited) strengths as a singer. I'm sort of imitating an imaginary hybrid of David Johansen (again) & Lux Interior having the misfortune of selling used cars, or some shit. For that reason, it's probably my favorite song in the set to sing.
What do YOU think?
Thanks for reading & listening. Song #4 one week from now.
Marty E.
"Don't be afraid, Baby, to take that dive, 'cause it's the only way you'll ever know you're alive...."
LAST WEEK's ENTRY: Songs: #2 - Midnight Crisis - "Midnight Somewhere"
THE WEEK BEFORE THAT: Songs #1 - Midnight Crisis - "Take Control"
Stream/Download "Kiss My Apocalipps" on BandCamp
Download "Kiss My Apocalipps" on CD Baby (or buy Heart Beatings CD)
Download "Kiss My Apocalipps" on Apple iTunes
Download "Kiss My Apocalipps" on Amazon
"Kiss My Apocalipps" on Spotify
It's total bullshit, but it explains the song pretty well, if you ask me.
This is an example of a song, that, lyric-wise, was a complete stream-of-consciousness explosion, aided by sleep-deprivation, and media over-exposure. That's a mouthful, isn't it?
It was late Summer, 2016. Dim Donnie Trump had just clinched the Republican nomination for....(gulp)...the....presidency. I mean, it was unTHINKable! One couldn't take it seriously, almost. It just felt like a big fucking joke - one that stood out, significantly, in a world that's FULL of bad jokes.
It was one of those nights in which I stayed up all night at my girl's house, watching crappy shows on Netflix, and dicking around, playing Words With Friends, etc, until 6:30 in the morning, when one (usually) has no choice but to pass out.
That was when it hit me: "Armageddon won't be televised, Pull the silver screens over your eyes...." Again, this ultimate fruition of what they called "Trumpism"....it COULDN'T be real. It HAD to be a fucking JOKE. It will PASS, and SOON, right? He can't possibly, WIN, right? RIGHT?!!! Something in the back of my mind probably was probably a little nervous, even if I wouldn't admit it to myself or take it seriously. So I got back up, and wrote the ENTIRE lyric of this song, pretty much verbatim with how we recorded it. I then immediately texted it to Lase, who asked me why the fuck I was still up!
What's weird about it is, that third verse: "The nightmare, Baby, has come true, The shallow end is deeper than you..." Again, I was pretty-much kidding. I mean, I thought it was..."apocalyptic" enough, if you will, that this fucking moron got the NOMINATION. I'm not pretentious or full-of-shit enough to say that I was being prophetic or some shit - I had NO fucking idea what was going to happen. What I did think was that maybe this was, in some sick way, a way to a path forward - one that would possibly scare us into some good sense (and, hell, maybe it still is, but I have my doubts). That's what I think I meant by, "You can fucking keep yesterday..." The last I heard, looking back never got anyone anywhere. I have always felt that nostalgia, more often than not, holds us back from becoming what we should be...you know, that kind of shit. Before long, you start telling kids to get off your lawn! What I guess I'm getting at is, if we can survive and get through this dark fucking mess, maybe we can can come out of it better than we were somehow. That's probably a big "IF" I don't know what choice we have but to try.
[There's also an excellent chance that this is all a big CON JOB, but....that's another discussion.]
This shit sure took on new meaning for me after the election results came in, almost a year ago. But, if you're reading this, you already know all about that, so...we'll leave that there.
The point of this? Well...some people are calling it the end of the world. I am not - at least not yet. But if it is, there's really not a lot that any of us can do about it except educate ourselves and be the best that we can be, in spite of it. "If tomorrow never come, When the lights go out, we'll have our day in the sun." (That's probably a nod to PRINCE, too).
As far as the actually writing of the song itself, I just sang the lyrics over Lase's riffs that he came up with on the fly. What we came up with really plays to my (admittedly limited) strengths as a singer. I'm sort of imitating an imaginary hybrid of David Johansen (again) & Lux Interior having the misfortune of selling used cars, or some shit. For that reason, it's probably my favorite song in the set to sing.
What do YOU think?
Thanks for reading & listening. Song #4 one week from now.
Marty E.
"Don't be afraid, Baby, to take that dive, 'cause it's the only way you'll ever know you're alive...."
LAST WEEK's ENTRY: Songs: #2 - Midnight Crisis - "Midnight Somewhere"
THE WEEK BEFORE THAT: Songs #1 - Midnight Crisis - "Take Control"
Stream/Download "Kiss My Apocalipps" on BandCamp
Download "Kiss My Apocalipps" on CD Baby (or buy Heart Beatings CD)
Download "Kiss My Apocalipps" on Apple iTunes
Download "Kiss My Apocalipps" on Amazon
"Kiss My Apocalipps" on Spotify
Sunday, October 29, 2017
SONGS: #2 - Midnight Crisis - "Midnight Somewhere"
First of all, this song is definitely the most optimistic one on the entire album, and probably the closest thing to "radio friendly" - whatever THAT means, these days.
Not to sound cliche', but, I swear that this wasn't intentional.
All I know is that the night we wrote it, I knew on the train ride over to LASE's house that I wanted to write a song called "Midnight Somewhere", but I had no lyrics, no riffs, and no particular ideas in mind at all. I just thought that it was a cool title, not just in relation to the band's name, but also...regardless of that, it seemed to me like a title that implies a what my idea of what the spirit of Rock n' Roll is all about, which is, essentially, that anything might be possible if you make it happen...and that life presents awesome opportunities, both large and small, at every turn, if your mind and your heart are in the right place and your eyes are willing to see them. PLUS, every night's true beginning, in MY mind, has always been at MIDNIGHT, but....it's always midnight SOMEWHERE, isn't it?
Anyway, we had a little drink of this and maybe some of that, and then Lase picked up a guitar and hit what became that opening riff, & I, in my Rock n' Roll Seinfeldian way, said something like, "That's fucking good! Keep playing THAT!" Then he started singing that little "Ah-uh-ah" hook that we do in the intro sections. This was beginning to sound like something resembling a SONG, already.
I started scrawling lyrics down about whatever came to mind. I was remembering what was typical & magical in its way, not too long ago....wandering down Ludlow Street, maybe a little after 10pm in the late September chill (at least at the time) with no particular destination in mind (ok, full disclosure: Motor City would have likely been the first stop), and not knowing what the night might bring, but knowing full well that the plan was to have as much fun as humanly possible (and maybe write a song about it later - no shit). There's something about that feeling of not knowing what's going to be happening four hours from now, but knowing that you surely as all hell want to find out. If you're reading this, you are likely to know the feeling that I'm talking about, but whether you do or not: "So hot, so bright, Out in the cool breeze tonight, You don't know where you'll go but you're damn sure where you might..." It's not a feeling or a state of mind that's easy to recreate, & trying too hard might ruin it, like a night like that, itself. But...we were in the zone, and I think we might have gotten it as close to in that first verse as we possibly could. Every time I sing it, it still takes me down that street, heading South.
The second verse seems like it might be a little bit of a downer - you woke up after partying & celebrating your very existence. Lord knows where you are & with whom, & you're discombobulated, and not just a little bit hung over. But, at the same time, "You're lucky you woke up today..." It's not all bad. It used to always be my assertion that a bad hangover is a reminder of the good times you had the night before. That's not my point of view nearly as often these days, but....I can certainly still write about it. "The Sun is passing through the hourglass, It's your shining moment make it last.....HEY!!!" The optimism continues, huh? I guess...
That was a way of life for a long time....
That's about it, really....oh, except the bridge....
That just came from this idea I had about...sort of turning chicken shit into chicken salad, as they say. "Obliterate. Deviate. Alleviate. Elevate. CREATE." Again, it comes from the same line of thinking that, to be honest, has probably killed a lot of those of the "creative ilk" - the old stand-by about taking life to the limits in order to fuel your creativity. There's a certain amount of truth to that, but I think that creativity depends a lot more on having experiences, the ability to channel them into whatever your talents dictate, and above all, having something passionate to say about them, and perhaps something to communicate regarding learning from them.
Jesus H. Christ....I digress....
I had delusions of bringing signs onstage with the words from the bridge hand-written on them like Bob Dylan and INXS, but.....that idea got shot down, HAHAHAHAHAHA....
It's kind-of funny - one of the first times we played this song live, I sort-of paraphrased Social Distortion (after a fashion) when introducing this song, by saying, "If you like 'happy songs', enjoy this one, because this is the only one in the set!" (This, if course, isn't entirely true, but...whatever). After the show, my homeboy Chris Santos came up to me and said, "Yo, that 'happy song' was my favorite song in the set!" Hahahahahaha. That's cooler than hell. The way I see it, is...if you like ANY of these songs enough to pick a favorite, then we are definitely getting somewhere. And...hell, maybe THAT's what the song is about.
I don't fucking know. To paraphrase Keith fucking Richards, we just happen to be there when the songs arrive.
Anyway, thanks for reading, thanks for listening, and there will be another entry next week, and ever week until we have one for each song on the album.
Cheers.
Marty E.
"Outshine the brightest star!"
LAST WEEK's ENTRY: SONGS: #1 - Midnight Crisis - "Take Control"
Stream/Download "Midnight Somewhere" on Bandcamp
Download "Midnight Somewhere" on CD Baby (or buy Heart Beatings CD)
Download "Midnight Somewhere" on Apple iTunes
Download "Midnight Somewhere" on Amazon
"Midnight Somewhere" on Spotify
Not to sound cliche', but, I swear that this wasn't intentional.
All I know is that the night we wrote it, I knew on the train ride over to LASE's house that I wanted to write a song called "Midnight Somewhere", but I had no lyrics, no riffs, and no particular ideas in mind at all. I just thought that it was a cool title, not just in relation to the band's name, but also...regardless of that, it seemed to me like a title that implies a what my idea of what the spirit of Rock n' Roll is all about, which is, essentially, that anything might be possible if you make it happen...and that life presents awesome opportunities, both large and small, at every turn, if your mind and your heart are in the right place and your eyes are willing to see them. PLUS, every night's true beginning, in MY mind, has always been at MIDNIGHT, but....it's always midnight SOMEWHERE, isn't it?
Anyway, we had a little drink of this and maybe some of that, and then Lase picked up a guitar and hit what became that opening riff, & I, in my Rock n' Roll Seinfeldian way, said something like, "That's fucking good! Keep playing THAT!" Then he started singing that little "Ah-uh-ah" hook that we do in the intro sections. This was beginning to sound like something resembling a SONG, already.
I started scrawling lyrics down about whatever came to mind. I was remembering what was typical & magical in its way, not too long ago....wandering down Ludlow Street, maybe a little after 10pm in the late September chill (at least at the time) with no particular destination in mind (ok, full disclosure: Motor City would have likely been the first stop), and not knowing what the night might bring, but knowing full well that the plan was to have as much fun as humanly possible (and maybe write a song about it later - no shit). There's something about that feeling of not knowing what's going to be happening four hours from now, but knowing that you surely as all hell want to find out. If you're reading this, you are likely to know the feeling that I'm talking about, but whether you do or not: "So hot, so bright, Out in the cool breeze tonight, You don't know where you'll go but you're damn sure where you might..." It's not a feeling or a state of mind that's easy to recreate, & trying too hard might ruin it, like a night like that, itself. But...we were in the zone, and I think we might have gotten it as close to in that first verse as we possibly could. Every time I sing it, it still takes me down that street, heading South.
The second verse seems like it might be a little bit of a downer - you woke up after partying & celebrating your very existence. Lord knows where you are & with whom, & you're discombobulated, and not just a little bit hung over. But, at the same time, "You're lucky you woke up today..." It's not all bad. It used to always be my assertion that a bad hangover is a reminder of the good times you had the night before. That's not my point of view nearly as often these days, but....I can certainly still write about it. "The Sun is passing through the hourglass, It's your shining moment make it last.....HEY!!!" The optimism continues, huh? I guess...
That was a way of life for a long time....
That's about it, really....oh, except the bridge....
That just came from this idea I had about...sort of turning chicken shit into chicken salad, as they say. "Obliterate. Deviate. Alleviate. Elevate. CREATE." Again, it comes from the same line of thinking that, to be honest, has probably killed a lot of those of the "creative ilk" - the old stand-by about taking life to the limits in order to fuel your creativity. There's a certain amount of truth to that, but I think that creativity depends a lot more on having experiences, the ability to channel them into whatever your talents dictate, and above all, having something passionate to say about them, and perhaps something to communicate regarding learning from them.
Jesus H. Christ....I digress....
I had delusions of bringing signs onstage with the words from the bridge hand-written on them like Bob Dylan and INXS, but.....that idea got shot down, HAHAHAHAHAHA....
It's kind-of funny - one of the first times we played this song live, I sort-of paraphrased Social Distortion (after a fashion) when introducing this song, by saying, "If you like 'happy songs', enjoy this one, because this is the only one in the set!" (This, if course, isn't entirely true, but...whatever). After the show, my homeboy Chris Santos came up to me and said, "Yo, that 'happy song' was my favorite song in the set!" Hahahahahaha. That's cooler than hell. The way I see it, is...if you like ANY of these songs enough to pick a favorite, then we are definitely getting somewhere. And...hell, maybe THAT's what the song is about.
I don't fucking know. To paraphrase Keith fucking Richards, we just happen to be there when the songs arrive.
Anyway, thanks for reading, thanks for listening, and there will be another entry next week, and ever week until we have one for each song on the album.
Cheers.
Marty E.
"Outshine the brightest star!"
LAST WEEK's ENTRY: SONGS: #1 - Midnight Crisis - "Take Control"
Stream/Download "Midnight Somewhere" on Bandcamp
Download "Midnight Somewhere" on CD Baby (or buy Heart Beatings CD)
Download "Midnight Somewhere" on Apple iTunes
Download "Midnight Somewhere" on Amazon
"Midnight Somewhere" on Spotify
Sunday, October 22, 2017
SONGS: #1 - Midnight Crisis - "Take Control"
"Take Control" is the first song on Heart Beatings, my first album with Midnight Crisis, which is my first album as a lead singer & songwriter, (along with LASE, of course)....and furthermore, it's the first complete-incomplete song idea I've every put together on my own (which LASE added to later).
So, there are a lot of firsts, there.
Oddly enough, that song came spontaneously, out of cluttered air, about four years ago. It was one of those rare nights (at the time) when I stayed in & chilled after at least a week of going out every night. I was sitting with my acoustic bass guitar, which I'd had for the better part of ten years, but had done nothing short of jack shit with...and I thought: let's try something this rhythmic riff idea that I got from the Sisters of Mercy's song "Ribbons" - really simple, but quite deliberate, and easy to put a melody and an attitude over. So I fucked around with it, rolled it, poled it, and marked it with an E...but then I had to go to the other part of this idea...which was to take the main riff to Janes Addiction's "Ain't No Right", and put THAT through the same battering process to change it JUST enough to sound like it might resemble something of its own. (I also wanted all of this this contextualized by some sort of Guns n' Roses "Rocket Queen" or Motley Crue "Too Young To Fall In Love" sort of feel and swagger, if you will). Then, somehow, I came up with the bridge part, too, just via trial and error.
It's not as if I was or am ANY kind of bass player, or guitar player, but I am able to teach myself how to play what I have on my head and show it to someone else...who can then take the main idea and add the punctuation - dot the Ts and cross the Is - make this bold, and italicize this, and add lots of colors & shades & cool shit to it, and make it a fucking SONG, ya know?
I digress...
Another really funny thing I did when I did the original demo of the song (which, like all of my song ideas, I made using GarageBand on my phone, and doing a LOT of swearing in the process) was....I banged out a sort of "machine-shop" percussion track on this metal stool of mine, kind-of like I'd imagine Cop Shoot Cop probably did once upon a time, and it gave it this really cool, unique special percussion effect. It's for the reason that I banged out a similar pattern on an iron skillet when we recorded the song for real, at LASE's house, and if you listen really closely, you can start hearing it, I think, after the chorus kicks in.
Lyrics? Hell, I don't know. I came up with the entire thing on the fly, lyric-wise, and kept 95% of it the way I wrote it that night. It was just something that took shape, in that spontaneous, stream-of-consciousness kind of way that songs (sometimes the best ones) often do. I after I'd gotten the musical skeleton down, I just listened to it, and, without thinking about it, started with, "Sometimes I think about you when I'm lost into the night...." (a little PJ Harvey and a little Only Ones - right in the first line, huh?). I mean, ANYONE from your girlfriend to your grandma wants to hear that, you know what I mean? But you have to say these things within the rhythmic context of the song, and hopefully wrap enough of a melody around it to make it palatable for anyone besides yourself, HAHAHAHAHA!!! It can be a bitch....but when it works, it works.
My favorite lyric? The last line in verse 1: "...every tear you cry paints a picture of my heartbreak."
The chorus? "Take control"...of what, exactly? Hell....I think I was just really singing about what the fuck I was doing, now that I think about it. I'd had a lot of song ideas in my head for years, some being better than others, and was frustrated that none of them were coming into fruition. So, without giving it a lot of thought, I finally grabbed myself by the breaches and got to work....and now, we finally have an album of it.
I digress....
Anyway, the lyrics took about 5 minutes to write, and I finished the demo around 6am or so, or in my world, bed time!
It's the coolest thing in the world for me to have made this a real, recorded song, with LASE's killer guitar madness, not to mention his top-fucking-notch production/engineering work, + Mike's brutal warrior drums whipping it mercilessly into shape.
Anyway, download a copy....or at LEAST stream it.
And thank you for listening.
Next song, next week.
Marty E.
"Nothin' matters but tonight and you and me..."
Stream/download "Take Control" on BandCamp
Download "Take Control" on CD Baby (or buy Heart Beatings CD)
Download "Take Control" on Apple iTunes
Download "Take Control" on Amazon
"Take Control" on Spotify
So, there are a lot of firsts, there.
Oddly enough, that song came spontaneously, out of cluttered air, about four years ago. It was one of those rare nights (at the time) when I stayed in & chilled after at least a week of going out every night. I was sitting with my acoustic bass guitar, which I'd had for the better part of ten years, but had done nothing short of jack shit with...and I thought: let's try something this rhythmic riff idea that I got from the Sisters of Mercy's song "Ribbons" - really simple, but quite deliberate, and easy to put a melody and an attitude over. So I fucked around with it, rolled it, poled it, and marked it with an E...but then I had to go to the other part of this idea...which was to take the main riff to Janes Addiction's "Ain't No Right", and put THAT through the same battering process to change it JUST enough to sound like it might resemble something of its own. (I also wanted all of this this contextualized by some sort of Guns n' Roses "Rocket Queen" or Motley Crue "Too Young To Fall In Love" sort of feel and swagger, if you will). Then, somehow, I came up with the bridge part, too, just via trial and error.
It's not as if I was or am ANY kind of bass player, or guitar player, but I am able to teach myself how to play what I have on my head and show it to someone else...who can then take the main idea and add the punctuation - dot the Ts and cross the Is - make this bold, and italicize this, and add lots of colors & shades & cool shit to it, and make it a fucking SONG, ya know?
I digress...
Another really funny thing I did when I did the original demo of the song (which, like all of my song ideas, I made using GarageBand on my phone, and doing a LOT of swearing in the process) was....I banged out a sort of "machine-shop" percussion track on this metal stool of mine, kind-of like I'd imagine Cop Shoot Cop probably did once upon a time, and it gave it this really cool, unique special percussion effect. It's for the reason that I banged out a similar pattern on an iron skillet when we recorded the song for real, at LASE's house, and if you listen really closely, you can start hearing it, I think, after the chorus kicks in.
Lyrics? Hell, I don't know. I came up with the entire thing on the fly, lyric-wise, and kept 95% of it the way I wrote it that night. It was just something that took shape, in that spontaneous, stream-of-consciousness kind of way that songs (sometimes the best ones) often do. I after I'd gotten the musical skeleton down, I just listened to it, and, without thinking about it, started with, "Sometimes I think about you when I'm lost into the night...." (a little PJ Harvey and a little Only Ones - right in the first line, huh?). I mean, ANYONE from your girlfriend to your grandma wants to hear that, you know what I mean? But you have to say these things within the rhythmic context of the song, and hopefully wrap enough of a melody around it to make it palatable for anyone besides yourself, HAHAHAHAHA!!! It can be a bitch....but when it works, it works.
My favorite lyric? The last line in verse 1: "...every tear you cry paints a picture of my heartbreak."
The chorus? "Take control"...of what, exactly? Hell....I think I was just really singing about what the fuck I was doing, now that I think about it. I'd had a lot of song ideas in my head for years, some being better than others, and was frustrated that none of them were coming into fruition. So, without giving it a lot of thought, I finally grabbed myself by the breaches and got to work....and now, we finally have an album of it.
I digress....
Anyway, the lyrics took about 5 minutes to write, and I finished the demo around 6am or so, or in my world, bed time!
It's the coolest thing in the world for me to have made this a real, recorded song, with LASE's killer guitar madness, not to mention his top-fucking-notch production/engineering work, + Mike's brutal warrior drums whipping it mercilessly into shape.
Anyway, download a copy....or at LEAST stream it.
And thank you for listening.
Next song, next week.
Marty E.
"Nothin' matters but tonight and you and me..."
Stream/download "Take Control" on BandCamp
Download "Take Control" on CD Baby (or buy Heart Beatings CD)
Download "Take Control" on Apple iTunes
Download "Take Control" on Amazon
"Take Control" on Spotify
Subscribe to:
Posts (Atom)
